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AMERICAN 
WENO et 


The Cabtnet-wood of the Ages 


Use of walnut through 
the ages—Period Furni- 
ture — Advantages of 
walnut today. How to 
identify American Wal- 
nut. Proper classifica- 
tion of walnut furni- 
ture — What everyone 
should know about fur- 
_niture and woodwork. 
See Index on page 45. 


AMERICAN WALNUT MANUFACTURERS’ 
ASSOCIATION 


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Sixth Edition of 
THE STORY OF AMERIGAN WALNUT 
©1927 American Walnut Manufacturers’ Assoctation 


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! think that I shall never see A tree that looks at God all day 
A poem lovely as a tree. And lifts her leafy arms to pray; 
A tree whose hungry mouth 1s prest A tree that may in summer wear 
Against the earth’s sweet-flowing breast; A nest of robins in her hair; 


Upon whose bosom snow has lain, 
Who intimately lives with rain, 


Poems are made by fools like me, 
But only God can make a tree. 


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DOWN THE CENTURIES WITH 
MASTER WOODWORKERS 


HE walnut tree is older than the human race. In the Pliocene 

deposits of Europe we find the fossilized remains of great walnut 
trees that grew thousands of years before the dawn of human his- 
tory. Geology reveals the use of walnut by the human race during 
the Stone Age. Rudely carved objects in walnut are found in the 
buried caves of neolithic man, along with the heaps of gnawed 
bones and flint axes. Walnut ornaments, perfectly preserved, have 
been dug from the mounds of the Mound Builders in ‘Vennessee. 


(RHE RATAN ERENAISSANGE 


Perhaps the earliest recorded use of walnut was in King Solomon’s 
time, when Indian Walnut is mentioned. “[he Romans, too, in the 
days of the Empire, used walnut extensively. Later Italian archi- 
tecture, which has been the basis and guide for furniture design, may 
be divided into the following periods: 
1100-1400—Byzantine, Romanesque, Lombardic Gothic. 
1400-1500—Early or Free Renaissance. 


1500-1600—Higher or Classic Renaissance. 
- 1600-1700—Baroque or Rococo Renaissance and the Decadenza. 


During all these centuries, walnut was widely used for the finest 
furniture and woodwork. : 


The furniture styles of the Italian Renaissance deserve particuiar 
mention, as they form the starting point and source of inspiration 
for all succeeding styles. 


The period of the Renaissance marked a great revival of learning, 
a general emergence from the dark ages. It was European in scope, 
but had its beginning and highest development 1 in Italy. The classic 
spirit, which effected so great a change in architecture, was further 
exemplified in the form and ornamentation of furniture. Carved 
woodwork became the vogue in interiors, and furniture styles fol- 
lowed this lead. 


The interior woodwork of this period was noteworthy. Italian 
Walnut was much used, carved and panelled. “The cabinet became 


Page Five 


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American Walnut Ornaments from a Mound Builder's Grave 
Long before Columbus, long before Leif Ericsson, long before the coming of the American Indian. 
) the Mound Builders inhabited America. From an ancient grave, where pottery and bones Lad 
crumbled to dust, came these two Walnut ear rings. Crudcly carved to represent birds, by the hand 
of an unknown race, in an unknown age, they come down through the centuries because of the great 
durability of Walnut—truly America’s first and greatest cabinet wood. 
‘ 
the most important piece. The chairs were huge, stately, with carved 
| perpendicular backs, flat square seats and arms, and no thought of 
comfort. 
)} Cabinets and panelling took the form of temples and palaces, 
\t the fronts of cupboards often representing temple facades. It was 
| in the ornamentation, especially the carving, that the Renaissance 
spirit found its full expression. 
‘ 
Handsome chests of solid walnut, cabinets, tables and chairs were 
made, though styles were palatial rather than domestic. Artists and 
| cabinet-makers came from other countries and the spirit and style of 
| Italian Renaissance swept across the Continent. 
The other European nations adopted the spirit of the Italian 
} Renaissance with national variations. 
WALNUT IN ENGLAND 
History shows the Romans introduced walnut trees into England, 
but that walnut was not introduced in quantity until 1565 A. D. 


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French 16th Century. Carved walnut table 
Metropolitan Museum of Art, New York 


These sixteenth century trees were allowed to grow in their majesty 
and beauty for nearly a hundred years, and not until the later days of 
Queen Elizabeth were they cut and used in any quantity. he earliest 
examples of furniture now in existence from the early middle ages in 
Europe are coffers. The wooden coffer became a receptacle in which 
smaller boxes could be stored, was the forerunner of the cupboard, and 
there are authentic specimens of these early coffers made of walnut in 
a few private collections and museums. Walnut chests of the fif- 
teenth century are to be found in the Victoria and Albert Museum. 

The sideboard was first, literally, a board fixed up against the 
wall, gradually developing by the addition of props or legs in front, 
then in the back, then a double shelf, later enclosed into an inde- 
pendent piece of furniture. 

In these early times only royalty, the nobility, and the wealthy 
had what can really be called “‘furniture’’ in stools, chairs, trestle 
tables, chests and cupboards. And as these were days of frequent 
and violent wars and quick ‘“‘movings’’ most of this furniture was 
jointed so that it could be taken apart and moved on short notice. 


Page Seven 


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While the different styles of furniture are well defined, they came 
gradually with many stages of transition. 


Before the time of King George or England and Napoleon of 
France, royalty set the style in furniture. Since that period styles 
have been the result of new creations by master cabinet-makers. 

Authentic walnut furniture of the Tudor period still exists in 
England. By the time of Charles II walnut was the principal furni- 
ture wood, although, during the Jacobean or Restoration days, its use, 
due to its superiority in fine, smooth grain, was steadily increasing. 

During the reign of William and Mary there began what has been 
termed the “Age of Walnut’. “These monarchs brought to Eng- 
land walnut furniture in the Dutch and Flemish styles, of which 
some fine examples are to be found today in Hampton Court. There 
is in particular a set of ten walnut chairs with cabriole legs, feet 
carved as hoofs, and carved stretchers. Old English lacquer work 
very often had walnut as a base, due to the changelessness of the 
wood. The Dutch influence is shown in all the furniture made at this 
time, and walnut chairs made during the Queen Anne period are said 
to be the first in which human anatomy and comfort were considered. 

After the period of the purer forms of the first Renaissance the 
best time for carved woodwork and decorative furniture in the Neth- 
erlands was probably the Seventeenth century, when Flemish design- 
ers and craftsmen had ceased to copy Italian patterns and established 
the style we recognize as Flemish Renaissance. 

The seventeenth century also gave the best examples of English 
work, marked by increased refinement 
of design, soundness of construction 
and thorough workmanship made 
possible by the use of walnut. 

At this time cozy or grandfather's 
chairs were made of walnut and, with 
sumptuous upholstery, marked the 
introduction of real comfort into the 
design and construction of furniture. 
This period marked the evolution of 
the winged sleeping chair and the love 
- LL chair or settee. 

English Early 18th Century. Stool The use of walnut contributed 


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of marquetry or inlay work in England, France and Italy, as the rare 
fidelity and trueness of walnut under all conditions permitted the ex- 
act cutting necessary to perfect inlay work. 

Walnut was used in the manufacture of pianos in Queen Anne’s 
time, not only the case but the keys being walnut. 

What is known as the decorative Queen Anne period marked the 
advance of cabinet work in its finest expression of skill through 
elaborate carving and embellishment. ‘This progress was also pos- 
sible through the superiority of walnut for cabinet uses. 

The period of Queen Anne marked the development of a real 
English style of furniture on Dutch lines. ‘The beginning of Queen 
Anne, about 1700, divides ancient from modern furniture. Then 
curves came in as a feature of design and with them the cabriole leg, 
and no underbracing. Attention turned to form rather than orna- 
ment. [he common folks then had Windsors, straight slat backs, 
and banister back chairs. Walnut was used extensively. 

THE FAMOUS ENGLISH DESIGNERS 
It was at this time that the artistic genius of 
Chippendale, Heppelwhite, the Brothers 
Adam and Sheraton found expression in 
several styles which are identified by the 
names of their originators. 

The chief distinction between previous 
styles and the work of these masters lay in 
refinement of design and consistency of line. 
Their furniture was smaller—truly refined 
in size and proportions. 

CHIPPENDALE 


‘Thomas Chippendale began his career as a 
maker of walnut furniture and developed the 
reputation of choosingonly the best materials 
for his work. The famous Kateshill Walnut 
Chair was made by Chippendale. He also 
used walnut in his beautiful mantel clocks. 

The development of distinctive styles of 
furniture wherein beauty of line and propor- Q 
tion were emphasized rather than massive- The Coolidge Chair—A beautifully Q 


carved Walnut Chair presented to Calvin 


ness and elaborate, intricate embellishment,  Coctiage ‘ducing his’ Western trip in 


may be said to date from the 18th century. Weinir war the only wood considered,  |ROM| 
Page Nine ) | 
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| American 17th Century. Dressing table | i | 
a) Metropolitan Museum of Art, New York e 


HERPELWHITE 


Heppelwhite established a wide reputation asa furniture designer and 
builder. It might be said that his work marks the transition from 
Chippendale to the classics of Adam and Sheraton. He particularly 


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3 reduced the size of pieces and introduced the more feminine lines 
5 of grace and beauty. The famous sideboards commonly attributed 
4 to Heppelwhite were really designed by Shearer. Heppelwhite designs 
2) are best reproduced in dark, straight grain, unfigured walnut. 


BROTHERS ADAM 


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a Robert and James Adam were architects who so influenced the fash- 

4 ions in household furnishings in their day that a style of furniture 

a) with the elements of decoration they employed has since developed, 

A bearing their name. It is a curious fact that they never built a single 

4 piece of furniture. However, they supervised the building of the 

_ furniture that went into the homes they designed. Adam furniture 

sf is characterized by the straight lines prevalent at the time and is dis- 

* tinguished by its classic style of decoration rather than its form. 

y Some of the very finest examples of Adam furniture are in walnut. | 
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French 18th Century Period of Louis XV 
Metropolitan Museum of Art, New York 


SHERATON 
‘This is also true of the delicate models of Sheraton, who was a de- 
signer and publisher of engravings rather than a furniture maker. 
Possibly this explains his development of beauty along lines of 
form and proportion rather than by accentuated oddity and intri- 
cate carving. Due to its strength and stability, walnut is particu- 
larly suitable for delicate Sheraton designs. 

In these facts we have an unusual evidence of the basic superiority 
of walnut asacabinet:'wood. All through the centuries it has been the 
truest medium of expression for what successive periods have deem- 
ed most beautiful and worthy in furniture design. or the massive- 
ness of Flemish, the elegance of Italian and French, and the balanced 
beauty of Eighteenth century English, walnut, by its inherent qual- 
ities, has been the one cabinet wood that fulfilled all demands. 

WALNUT IN COLONIAL AMERICA 
‘The very earliest American furniture was that brought from Eng- 
land, Holland, France and Spain, and was of course, of the style and 
wood prevailing in these respective countries at the time. 


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Hughes Sambin 
style Walnut 
Cabinet, 
1550-1600 


‘This accounts for the fact that many old pieces were made in wal- 
nut. Trinity College has a walnut chair of the Italian style of 1640. 

Furniture made of Pennsylvania, and even Virginia walnut found 
its way as far as New England (a long distance in those days), and 
furniture made of this wood was produced by manufacturers in 
Philadelphia in the Revolutionary days, their work being responsible 
for many excellent pieces. Some of the earliest rocking chairs, that 
distinctively American invention, were made of American walnut. 
What we know as the ‘‘bureau’’ is an American production dating 
about 1727, and the name was originally spelled “‘buerow’’. 


It is an interesting fact that in the early days of our republic, we - 


produced a master craftsman, Duncan Phyfe, of New York, whose 
work bore impress of genius that ranks him with the widely her- 
alded designers of the Georgian age. 

By 1750, the cabinet-makers of Philadelphia had surpassed those 
of England in design, workmanship and quality of stock used. 


Page Twelve 


A a 


2 They had a decided advantage in their choice of materials, as indi- | 
@ cated by the following quotation from Moore's Old Furniture Book: g 
| “The material used for nearly all William and Mary and Queen Anne , 
| pieces of native make (and most of them were the work of local join- 

| ers) was singularly beautiful black walnut of deep, rich color that O) 
lent rare distinction to any article for which it was employed.” i, 
| ‘The “Master Furniture Makers’’ in America are producing work % 
imei that 1s superior to that of the ancients. The modern, really high-class Q 
._-~walnut productions have no equalsin antiquity. But, alas, all modern | 
al i furniture is not made by ‘‘Master Furniture Makers’. There isa satis- y 
H Ife faction both keen and deep in the knowledge that, by the exercise of (9 
—— our: taste and discrimination, we may leave to our children and to their 
g| descendants for generations a heritage of furniture that will con- 
Y stantly increase in value through the years. We cannot even estimate 
the cultural influence and the development of true pride in family and 

| race which the inheritance of such treasured heirlooms will exert. 
| Many of these early examples of American furniture were the Yg 


product of home labor. Some of us recall from childhood the mem- 
ory of adear old grandfather who, in his | 
strong, young days, was building home, Si 
family and fortune all at once. And (og 
there was some chair, table, desk or 
other piece that was a treasured posses- 
sion, a piece of furniture that grand- 
father built with his own hands. 
This. was history which we of a 
younger generation could understand 
and appreciate, because it was a part of | 
grandfather’s very life, for that reason 1 
even of our own lives. 
Grandfathernever tired of tellingus the 
story about the furniture which he prized 
more than any other and which even then 
assumed the role of “‘heirloom”’ in our ro- 
mantic minds—how he measured and 
shaped,and planedandsandedand drilled, 
and glued and screwed, and rubbed and 


Italian 17th Century—Desk polished, and how his labor was re- 
| ey with Cabinet top warded by a lifetime of faithful service. 
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3) Florentine style Walnut portfolio | 
Carved by Frullini, 19th 
>) Century | : 
; He never forgot to tell how he selected his wood—of course it was | 2 | 
i walnut. It was in his early boyhood that he first learned the virtues | Q 
a, of walnut from an old master craftsman who was his friend as well / o 
3) as adviser. ‘The boy venerated the man with a sincerity akin to wor- | 
if ship. So that when the mysteries of texture and grain, of easy RI 
manipulation and susceptibility to fine finish were unfolded, they 2 
: made an impression never to be effaced. “Thus we had a glimpse of | 
the inspiration of the craftsman whose work expresses creative skill Q | 
: in terms of beauty and service. QI 
: Is it any wonder that the thoughts of grandfather’s simple old QI 
>) walnut pieces thrill us with a fervor that ‘‘Chippendale’’ and “‘Hep- i(6] 
ty pelwhite”’ fail to evoke? Kal 
x But walnut has a thrill for every loyal American. It is indelibly 2 | | 
s written into early Colonial history. In 1633 Governor Winslow O) | 
2) presided over his councils in Pilgrim Hall at Plymouth with the aid oy 
| y. 
of a walnut table. IZ 
; As a mark of especial regard, Mrs. Washington, the mother of 2 
‘ George, ‘father of his country’’, selected a fine walnut writing table | Q | 
2) for a bequest to her granddaughter, Betty Carter. | 9 | 
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French late 16th Century 
Carved Walnut panel 


Madam Steenwych (noted for her suppers) had a fine cupboard 
of walnut, and Nicholas Van Rensselaer had a walnut chest. 


In 1705, an inventory shows “‘fine chest of drawers of walnut 
wood”’ 


Governor Burnet of New York and Massachusetts, 1729, had 
leather-bottom walnut chairs. 


The inventory of Peter Faneuil of Boston in 1752 shows that 


he owned twelve walnut-frame, leather-bottom chairs. 


Rev. Theophilus Pickering of Salem in 1724 made good furni- 
ture of walnut, which was the wood he most used. 


Windsor chairs were advertised in 1768 by Wm. Gautier of New 
neork:, 


‘The choicest of old Dutch chests or ‘“‘Kas’’ were made of walnut 
exampled by the famous one belonging to the Albany Historical So- 
ciety, which is eight feet high and of unusual beauty. 


‘The following is an advertisement from the Weekly Mirror in 
1774—'‘To be sold at private sale—a large black walnut cupboard 
with a set of Delft.”’ 


Walnut furniture was commonly listed in the American claims 
for damages by British soldiers in the Revolutionary War. 


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HE three most severe uses to which any cabinet wood may be 

put are for gun stocks, airplane propellers, and automobile 
steering wheels. It is significant that for these exacting uses no 
other wood even challenges walnut’s supremacy. 


Gun stocks for centuries have been made of walnut. Asevery sports- 
man knows, no matter how wet and muddy a walnut gun stock gets, 
a little rubbing with an oiled rag quickly restores its soft, warm glow. 


The Great War brought about the use of walnut for airplane pro- 
pellers. A propeller is subjected to terrific strain and to the most 
violent extremes of heat and cold. After scientific tests of all the cabi- 
net woods, walnut was selected by both our own and European 
governments as ideal for this purpose. 


Used in the steering wheel of the modern automobile, walnut has 
become familiar to millions. The beauty of walnut and walnut’s 
strength and stability are important reasons for its choice for steering 
wheels. But there is another reason not to be overlooked. Walnut is 
inviting to the touch. No matter how cold the weather, walnut is 
never ‘‘cold’’ or clammy. It doesn’t sweat. Under all atmospheric 
conditions, walnut always has a warm, ‘‘friendly’’ feeling. There 
are no features of the interior of a car which so clearly distinguishes 
the best from the inferior as the presence of a beautiful walnut steer- 
ing wheel and the use of walnut trim. 


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GHRONOLOGICAL: TABLE 


PERIOD. FURNITURE 


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Showing the order of pertod styles from the begin- 
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ENGLAND FRANCE ~ 
SOVEREIGN STYLE REMARKS STYLE SOVEREIGN 
Henry VIII Ge About the dura- Francis Francis | 
1509-1557 tion of the Re- Premier 1515-1547 
naissance Period 
Elioabeth in other coun- 
195821603) zacctnan)) (ries! es Henry Il 
‘ S Q 1547-1559 
fe) O 
James I a Italy 2 wee. 
1603-1625 1) 1443- 1546 aa 
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rancis 
Charles | O O 1559-1560 
1625-1649 S ; Germany Zz 
aS 1525-1620 << | Henri-Deux 
Commonwealth < 2 
1649-1660 Jacobean S < Charles IX 
2 Flemish and ce 1560-1574 
Charles II : ae rs 
1660-1685 eee once gba 
wh Spain and O 
sl Portugal iz Henry III. 
James II S 1500-1620 | 1547-1589 
1685-1688 aa ir 
pluameand William and eet Ee rome en Henri Henry IV 
Mary M countries t 1589-1610 
1688-1702 ary 1500-1630 Ree 
Barocco Styles ‘ . 

Anne Queen aS ee y Louis Louis XIII 
1702-1714 Anne gaaianing pi be Treize 1610-1643 
ococo 
G I Louis Louis XIV 
17 Vorcee Chippendale 6 Chippendale S Quatorze 1643-1715 

pm book See ase 
; a Louis Louis XV 
George II SOS ~ | Hcppelwhite’s Quinze =| 1715-1747. 
1727-1760 Adam . book Louis Louis XVI 
a Seize 1747-1793 
O | R. & J. Ad 
George III Sh ea ¥, scam ——— 
1760-1820 eraton (9 | Sheraton’s book Empi Napoleon 
ASEM AE 2G) 
Page Seventeen 
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_—— NOLS AGNGNS MONG: 


ADVANTAGES OF WALNUT TODAY 


Walnut is today, as it has been through the ages, the most popular 
wood for furniture and woodwork. Housewives are proud of their 
walnut furniture. When you get right down to it, everyone wants 
real walnut furniture, but many have a mistaken idea that it costs 
more than it really does. | 

One of the purposes of this little book is to show you that you 
can easily afford real walnut furniture. 

The natural color of real walnut, and the pleasing variety of its 
figure and grain, give such warmth and life to furniture and wood- 
work that even the simplest walnut designs have a distinctive ele- 
gance all their own. By scientific tests walnut combines moderate 
weight with maximum strength — making it the perfect cabinet 
wood. 

Properly made walnut furniture never becomes warped, loose or 
rickety, because it is the most unchanging and stable of cabinet 
woods, a fact that leads to its almost universal use for aeroplane 
propellers and gun stocks. 

Walnut, for hundreds of years in Europe and America, has been > 
the cabinet wood used by the most famous furniture makers and 
architects and has always occupied a prominent place in the finest 
homes and palaces. 

Walnut is a real “‘heirloom’’ wood. Its remarkable qualities have 


‘preserved for us the fine furniture of the past and will make the fur- 


niture of today the treasures of a future generation. Its re-sale value 
is always good. Old walnut furniture is prized by collectors. 
Walnut has a beautiful natural brown color that:is deep, warm 
and living. The color is in the wood and not on the wood. Hence, 
dents and scratches do not show up another color and spoil the ef- 
fect, while age only enhances its beauty and increases its value. 
Walnut has, as no other wood, an endless variety of figure. “he 
plain wood has a quiet dignity, the stripe and roll figures are dis- 
tinctive, the mottles, ripple marks and matched figures are strikingly 
beautiful; and each piece has a truly individual pattern of beauty. 
Walnut always takes a fine finish. “The waxed dull finish shows 
the grain to good advantage and is the easiest of all finishes to keep 
looking well. Housewives know it is the easiest wood to keep clean. 


Page Eighteen 


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American Walnut Woodwork and furniture in the living room. This cozy fireside 
corner ts one long to be remembered 


Walnut is strong. Comparative strength tests by the United 
States Government show its superior qualities. We have the figures 
and will be glad to give them to you if this statement is questioned. 
Walnut is universally specified for aeroplane propellers and gun- 
stocks, where the greatest stability 1s required. 


Walnut, because of its close, even grain, is easily worked into the 
most artistic designs that furniture builders have produced. It is 
the accepted wood for carved furniture as well as the most delicate 
styles. 


Walnut furniture is not as expensive as most inexperienced buy- 
ers imagine. Because of its splendid traditions, people are prone 
to overestimate its cost. 


Page Nineteen 


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Modern bedroom furniture beautifully designed, well made and perfectly finished of 
genuine American Walnut 


THE W@eODTTSELE 
AMERICAN (BEACH) FWALNU & 
The botanical name for walnut, ‘“‘Juglans’’, is derived from the Latin 
“Jovis glans’, or “‘nut of Jupiter’. In ancient times walnut was 
called ‘“‘Juglans regia’ or “Royal Walnut’. 

This booklet deals principally with American Black Walnut 
(Juglans nigra), which grows in the eastern, middle-western and 
southern states. Its nut is the familiar black walnut. “The Euro- 
pean walnut (Juglans regia) is a related species, the wood of which 
is variously known as English, French, Italian and Circassian Wal- 
nut. Its nut is known commercially as the English walnut. 

Very little walnut is now used in this country for woodwork 
and furniture, except American walnut. 


Page I wenty 


A fine example of old New England bedroom furniture in Walnut 


European craftsmen have long been partial to American walnut, 
agreeing on its superior color, figure, strength, and texture to the 
walnut grown in Italy, France and Spain. 


American walnut ranges from Massachusetts and South Ontario west 
through the southern half of the Lake States to Middle Nebraska and 
Kansas to Central Texas and Northern Florida. American walnut 
was called ‘“‘Dent-soo-kwa-no-ne’’ by the Indians of New York. 


Walnut wascut out far in advance of other timber, but up to 1850 
it was fairly abundant. From 1850 to 1875 it was widely used and 
much of the best timber was cut in the then accessible regions. From 
1875 to 1900 the production of walnut dropped slowly from 
125,000,000 feet a year to about 50,000,000 feet yearly. 


Since 1900 the annual figure has remained about 50,000,000 feet 
until the Great War, which brought out an average of nearly 100,- 
000,000 feet per year between 1914 and 1918. 


Page I wenty-one 


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American Marquetry Panel. V 
Metropolitan Mu: 


tTaiaid with paricolored woods 
of Art, New York 


Walnut lends rare distinction to the radio, the phonograph, and 
the piano in the modern home 


Some twenty years ago the logging of walnut became different 


from that of other woods. 
This tree had always been a favorite and had been preserved and 
planted all over the country. As a result, there were millions and 
rene of trees scattered over the farming sections of the country. 


Page Twenty-four 


The Walnut Sawmill. There are a goodly number of sawmills in the country cutting 
nothing but American Walnut lumber, which proves there ts still 
plenty of Walnut to be had 


A practice grew up of collecting logs at a convenient shipping 
point from the surrounding country. “Trees would get old and die, 
be struck by lightning, or the owner be in need of ready cash; so 
walnut trees could always be bought. Since 1900 this practice has 
increased, until today the greater part of the walnut produced is 
picked up, a tree here and a tree there, and shipped to the mills. Dur- 
ing the war it was this system which made it possible to supply the 
United States and Allied Governments with the countless millions 
of feet for gun-stocks and aeroplane propellers. 


The results were a revelation to the experienced walnut men and 
to forestry experts. It was discovered that a steady walnut produc- 
tion could be maintained almost indefinitely, the demands of the war 
scarcely scratching this source of supply. 


The forests formerly contained some magnificent specimens of 
this splendid tree. Even within the last few years specimens have 
been cut measuring five and six feet in diameter. Many years ago 
there was standing in Floyd County, West Virginia, a tree seven 


Page Twenty-five 


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American Walnut makes this office a masterpiece of beauty and 
dignity. The finest hotels, clubs, churches and 
public buildings are also furnished in 

American Walnut. Bit 


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Page Twenty-six ‘ 


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One of the many beautiful figures obtained Another matched Walnut panel. The 
in matched Walnut panels variety obtainable ts endless 


feet in diameter, while in Letcher County there was a rather short 
bodied walnut nearly nine feet in diameter. A great many trees 
averaging from four to six feet on the stump came down the Big 
Sandy River to move on the Ohio River and were exported during 


the period between 1870 and 1890. 


‘The average forest growth, however, was from twelve to thirty- 
six inches in diameter. Many of the old trees were sixty feet or 
more in height to the first limb. As with all trees, the stem or trunk 
of the walnut tree is usually the most valuable. Generally, the 
trunks of walnut trees are straight-grained and show but a small 
amount of figure. In the average tree the only place where a decided 
figure is found is in the stump. 


Almost every stump shows a wavy grain at a point where the 
roots begin to spread out from the base of the tree. It is, therefore, 
a fact that most of the figured walnut used comes from the stumps, 
though it is doubtful whether more than one stump in a hundred 1s 
suitable for this purpose. 


Page Twenty-seven 


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Stripe Figure Rotary Figure Stump Figure 


FIGURES IN WALNUT 


‘The natural color of American walnut is a deep, rich brown color, 
ranging from a light tone to a real chocolate brown. ‘This is the 
natural color of the wood, not artificially applied. 


Its beautiful variety of figure, grain or flower, which is character- 
istic, gives a truly individual pattern to every piece and is due to the 
conformation of the wood itself. This figure is further varied by 
cutting walnut logs in different ways, some of which we will briefly 
explain here. 


STRIPED FIGURES (Fig. 1) 


Obtained by quarter sawing a walnut log, that is, by splitting a log 
in four parts, lengthwise, and then cutting boards from the flat side 
of each quarter. “The annual growth rings make the stripe. 


ROT AR YsrIGURE?(Fig.22) 


Obtained by cutting a walnut log around and around, as you would 
unroll a spool of wide ribbon. Crossing the growth rings at wide 
intervals produces a wavy pattern. 


Fig. 4 Fig. 5 Fig. 6 
Burl Figure Cross Figure Matched Figure 


> ROMP FIGURES Chig. 3:) 


Obtained from the base of a walnut tree, where the wood fibre is 
crinkled into wavy ripple marks during the process of growth. 


BURP RIGOUR. (hier) 


| Obtained by slicing up one of the huge knots or burls, which some- 
times form on a walnut tree, like great warts. “Ihe twisted, thick- 
ened wood fibre gives a very beautiful birdseye or peacock tail 
pattern. 


CROSSrIGURE (Fig. 5) 


Obtained from walnut logs with a particularly wavy grain. ‘This 
| figure is sometimes called ‘‘fiddleback”’ 


MAL CHED EIGURE: (bigs 6) 


Obtained by taking two adjacent pieces out from the same log or 
stump and turning one over. [he figure in both pieces is then 
identical and matches when they are placed side by side. 


Page Twenty-nine 


HO HORNS SRK FF SOS 


HOW WO IDEN TIRYIGENUINE WAIN bean 
AV OUD SEGRE SU BSiiatware 


REMEMBER THESE FACTS WHEN 
BUYING FURNITURE 


Unfortunately you will sometimes find the term “‘walnut’’ applied 
to everything from absolutely solid all-walnut pieces, down to pieces 
made entirely of some substitute wood merely stained a walnut 
brown. 


Fortunately, it is not difficult to identify genuine American wal- 
nut at sight. [his book tells you how and also where to look for 
substitution. 


For centuries walnut has been universally known for its beauty, 
stability and durability, and the American public has a right to get 
real American walnut in all furniture sold under that name. 

Hence this book comes to you, so that in buying furniture you 
will be able to know for yourself whether a piece of walnut is all 
that may be claimed for it! 


HOWTO TELL REAL AMERICAN WALRNOG 


American walnut is naturally light brown to chocolate brown in 
color, medium in weight and combines the characteristics of great 
strength, stability and durability, as does no other cabinet wood. 

[ts textures firmeand compact. “It has 4) variety ol eraineanGe 
figure found in no other wood. It is ideal for furniture or interior 
woodwork. } 

To distinguish real American Walnut from a substitute, LOOK 
FOR THE PORES. These are fine tubes, thickly scattered through 
the wood, and can be seen with the unaided eye as fine pen lines, dots 
or dashes, accordingly as the wood has been cut across the grain or 
with the grain. 


Page Thirty 


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Cross Section of Walnut Wood, 
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Longttudinal Section of Walnut Wood, 
magnified fifty times 


Figure 7 shows a cross section of walnut wood, magnified 50 
times. [he large white circles (A) are the open ends of the tubes 


above referred to. Figure 8 shows 
a longitudinal section of the same 
wood, magnified 50 times. ‘he 
white columns (A) are side views 
of the tubes. Group 9 shows three 
pieces of walnut in which, in A, 
the wood is cross-grained, and the 
pores show as fine dots. ‘These 
dots are the same as the circles (A) 
in figure 7. 


In B the wood is cut on a diag- 
onal across the pores, making the 
pores show as short dashes. 


in .@ the wood is- straight 
grained, and the pores show as fine 
lines and are the channels (A) in 
figure 8. 


It is common, however, to find 
all three of these characteristic 
markings in one piece of walnut, 
especially figured walnut. 


Cc 


Group 9 
Sections of Walnut 
Wood, actual size 
and appearance 


If a person with normal eyesight cannot clearly distinguish these 


lines, dots or dashes, then the wood is not walnut. 


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HOW TO JUDGE AN INDIVIDUAL PIECE OF I 
FURNITURE ig] 


1. Ask the seller if the piece is | 
real American walnut—f at least 
all exposed surfaces are walnut. 


2. Note the color of the wood 
on all parts of the piece. If sub- 
stitute woods have been used in H 


aa places, these places are usually “‘off | o) | 

Nene color’, generally darker and seem | 9 | 
jocEximine carefully the mouldings at, head and lifeless. “[he darker the finish, the | Ay 
| posts (C). The sideboards (D). _ more difficult it is to detect substi- | Q 
tutes. Walnut also has a luminous 19 


depth of color, which makes other hel 
woods seem dead and flat by com- | | 


parison. 


3. Having learned to recognize 


walnut wood by the pores, go over 


the piece in question and make sure 


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) 
= that all parts are of walnut. In 
the so-called “‘combination wal- 
ines lua nut’ furniture, the top or front | 
Examine carefully th trror frame, and 1 
rail OE hea) ie ioe *(B). "The. leg or 1S usually walnut and the rest of ; 
Os Cie tall he back legs. h ils, if ; 
Sa te oe ae emgeren | e SCualeldeveeclye: Metco ci ee) 21h | 
stiles Note whether the side panels (F) are this walnut and then see if the 
(0) wainut, 3 
other parts of the piece are of the 
same wood. o) 


In the accompanying illustra- | 
tions, we show you where to look. | 


Walnut. Chair 


Examine the seat base (A). Are all four pieces 
walnut? The front piece may be the only wal- 
nut piece. Examine the back panel or splat (B). 


This may be the only piece of patna So 71 he Walnut Fable 


WG WGAG MO MGS 


chair. Examine the rounds (C). 
substitute woods in an otherwise all-walnut chair. Examine carefully the top (A). The legs (B). The 
Examine the legs, both front and back (D). curtain (C) 


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Page Thirty-two 


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WALNUT REY WOOD PANELS 


Diagram Showing Construction of a five-ply Walnut Panel 


A—wWalnut Face Veneer 
B—Cross Banding 
C—Hardwood Lumber Core 
D—Cross Banding 
E—Walnut Back Veneer 


BAGCY 


The grain of the core and the face veneer run the same 
way, While that of the cross-banding 1s turned at right angles. 


A three-ply panel consists of only three layers. 


For large surfaces such as bed head and foot boards, table tops, and 
the tops, fronts and sides of buffets, dressers and wardrobes, walnut 
plywood panels are largely used. 


‘These panels have the advantage of being light in weight, and at 
the same time very strong, and can be made extremely beautiful by 
the use of figured walnut. 


Properly made, a walnut plywood panel is a thing of beauty and 
a substantial and durable method of wood construction. 


The development of wood glues during the war reached such a 
high state of perfection that when the best are used, plywood panels 
break in the wood itself, before they break at the glue joints. 


‘The above diagram shows how a good walnut plywood panel is 


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Page Thirty-three 2 


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The modern dining room with furniture of Colonial design in Walnut. Note the ladder back, 
rush bottom chairs, the extension gate leg table and the Welsh cupboard. 


"THECPRORERSGIPASSIEICA LION OG 
WALNUT FURNITURE 


‘The following are the kinds of furniture that may be bought and 
sold as American walnut without deceit on the part of the seller or 
regret on the part of the buyer. 


Solid American Walnut Throughout—This is a piece of furniture 
made entirely of walnut lumber, inside and out, and does not admit 
the use of veneers or any other kind of wood. 


Solid American Walnut Extertor—This is a piece of furniture 
in which all the exposed parts are of solid walnut lumber. Veneers 
or other woods may be used for unexposed parts and interiors. 


Page Thirty-four 


American Walnut T hroughout— [his is a piece of furniture made 
entirely of walnut, either of solid lumber or of walnut plywood 
panels. 

American Walnut Exterior— This is a piece of furniture in which 
all of the exposed parts are either of solid walnut or of walnut ply- 
wood panels. [he unexposed parts and interior may be of other 
suitable wood. 

The following kinds of furniture cannot truthfully be sold as 
American Walnut: 

“Combination Walnut’’—This is a piece of furniture having 
only walnut face panels on the larger surfaces, with the entire frame 
construction of some other wood. By weight or volume such fur- 
niture is less than five per cent walnut and should not be so des- 
ignated. 

“Walnut Finish’’—This is a piece of furniture made entirely of 
some other wood, including the face panels, but finished in a walnut 
brown. This is the cheapest of the different types of so-called wal- 
nut furniture to be found on the market, and the name ‘““Walnut”’ 
should not be used in connection with it in any way, as such use 
cannot help but be misleading. 


“The Knot over Washington’s tomb’, 
an unusually great Walnut burl. The 
burl was about one hundred years old 
and five feet through when placed 
in the National Museum recently 


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A modest dining room with three-foot Walnut panels and attractive Walnut furniture 


WALNUT INTERIOR WOODWORK 


The use of American Walnut for interior trim has in the past few 
years been greatly extended. For backgrounds in display windows 
it has practically excluded all other woods in the better class of 
stores. Nearly all the finer store and shop interiors are also now 
made of walnut. “There has also been a great revival in the use of 
walnut in hotels, clubs, churches, banks, office buildings, public 
buildings, and particularly in private homes. 

The use of walnut in homes has of course been greatest in fine 
homes, but it is to be found not only in the most palatial, but even 
in homes costing ten thousand dollars, or less. “These walnut in- 
teriors may consist of a number of rooms completely paneled in 
figured walnut, or may consist of a single room in which only the 


Page Thirty-six 


“Were 


A beautiful reading room in the Centennial Memorial Building at Springfield, Itlinots 
American Walnut trim and furniture. Edgar Martin, Architect 


baseboards, doors, and door and window “‘trim”’ are of walnut. In 
every case it is surprising to most people to find that the cost of the 
walnut is little more in the same work than that of some common 
wood. The greater part of the cost of interior woodwork is in 
labor, which is the same whether on walnut or some other wood. 


In the building of an elaborate home, where permanency and 
beauty must be combined with quiet dignity and inviting comfort, 
walnut offers architects or decorators a rare medium for the expres- 
sion of their ideals and more and more they turn to walnut when 
they wish to create a masterpiece. 


In the modest home it is not unusual to find walnut woodwork 
in perhaps the hall or reception room, living room and dining room. 
Very often one or more of these may be paneled in beautiful, figured 


Page Thirty-seven 


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One of Chicago’s artistic drawing rooms 
Furniture, panelling and ceiling in American Walnut 


walnut, sometimes, particularly in dining rooms, only to chair rail 
height, but frequently to door height or to the ceiling. 

Walnut lumber for making the usual elements of interior trim is 
easily available and the trim is manufactured by any local millwork 
concern. ‘The panel industry has developed to the point where stock 
sizes in plain or figured walnut are available on short notice. Such 
panels can be installed by any good woodworker, which makes pos- 
sible a walnut interior at a very modest expense. ‘There are also many 
woodworking plants in the country equipped to turn out a job com- 
plete, panels and trim being ready to install in the house. 

This association is always glad to give every assistance to those 
wishing to use walnut for interior trim. 

The advantages of walnut woodwork are many. As with wal- 
nut furniture, it is warm and cheery in color and lends itself well to 
any scheme of interior decorations. “Ihe beauty of the wood creates 


Page Thirty-eight 


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American Walnut lends rare distinction to the library of this Fifth Avenue mansion 
Photograph by M. E. Hewitt 


an atmosphere of dignity and simplicity that reflects true refinement 
of taste. Once walnut is installed the cost of upkeep is negligible, 
while wallpaper must be renewed every few years at much incon- 
venience and expense. Walnut woodwork or furniture never looks 
cloudy or dirty and is easy to keep clean. Due to its superior qual- 
ities, walnut gives the owner the satisfaction of knowing that he 
has achieved a recognized individuality in his home and that the 
passing of time only increases his enjoyment and the approval of 
those who value distinctive homes. 

While we all should think in terms of the “‘home”’ rather than the 
““house’’ nevertheless houses that have been real homes are sometimes 
sold or rented and it takes nothing from the satisfaction of the origi- 
nal builder to know that his walnut trim is a “‘badge of merit’’ for 
the house and will add several times its cost to the value of the house. 


Page Thirty-nine 


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WHE CARE SAND EUNISHINGOR: 
VIE RICAN \y Aiea 


We receive so many requests for information 
on the proper finishing and refinishing of wal- 
nut, that we include this chapter on the subject 


WHY WALNUT IS FINISHED 


‘The fundamental reason why cabinet woods are finished is to seal 
the surface of the wood, which prevents absorption of moisture that 

| is responsible for shrinking, swelling, warping or checking. While 
walnut is less subject to such changes than other cabinet woods, 
nevertheless it must be remembered that the furniture of a single 
factory may be shipped to all parts of the United States and be 
subjected to widely varying heat and moisture conditions; therefore, 
a good finish that seals the surface 1s always desirable. 


cat mere 
ly 


The finish also guards against decay and insect attacks, although 
walnut is singularly free from such enemies. ‘The finish on walnut 
also serves to bring out the beautiful texture and figure of walnut. 
It also makes it possible to have as light or as dark a shade of walnut 
brown as is desired or such contrasting effects as we note in ‘two 
tone’ finishes. 


HOW "TO SELEGIG AW ADNUTSPINISH 


In the majority of cases it is well to choose what is known as the nat- 
ural walnut finish when it comes to color. Extremely light color must 
be obtained by a bleaching and unless desired for matching some- 
thing else, is not reeommended. Very dark finishes are not desirable 
because to obtain them it is necessary to darken the wood with stains 
which, if too dark, conceal the natural beauty of the color and figure 
of the wood. The best shades are the natural color and the very 
slightly darker shades that display the natural beauty of the wood. 
Very dark finishes make the identification of the walnut more difh- 
cult and the substitution of other woods more difficult to detect. 


There are two styles of finish to be considered in addition to the 
consideration of color. These are known as the “‘polished’” and 
“dull” finishes. The advantage of the high polish is that it displays 
the beauty of the wood to the very greatest advantage, giving it a 
very rich appearance. The disadvantage lies in the fact that such 


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finish is more likely to be marred by “‘knocks’’, scratches or hot 
dishes. Severe accidents to a highly polished piece are difficult to 
mend and often require refinishing. [he dull finish if not made 
too dark can be very rich in appearance while it is much less subject | 
| 
| 


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to damage and can be repaired more easily 1f damaged. 


MODERN FINISHES 


In the olden days all furniture was made by hand and in small 
quantities. [he craftsman did not need to consider expense or 
time. As a result he used the purest materials for finishing, took 
lots of time and expended a great deal of hand labor. ‘These condi- 
tions produced somewhat better results than are obtained in the 
average furniture factory, but the best of our modern factory finishes 
are perfectly satisfactory and it is well to remember here that their 
product goes to the people instead of just to kings and royalty. The 
American furniture manufacturer has made it possible for the artisan 
to have in his home walnut furniture that compares not unfavor- 
ably with palace furniture of a hundred years ago. 


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HOW TO FINISH WALNUT 


In the following we give directions for applying the dull rubbed or 
eggshell finish to American walnut. ‘This finish is more generally 
applied at the present time than any other. 


DIRECTIONS 


First sponge the wood with water. When dry, usually after eight 
hours, sand smooth with 000 paper and dust thoroughly. Stain 
the wood with a water stain obtained from reliable source, either in 
powder or liquid form, calling for walnut stain—standard shade; 
it is easier to buy the powder and dissolve according to the maker's 
direction. 

When sap wood is encountered apply regular stain to sap parts 
and when dry go over entire work with same stain, blending out 
where the work remains too light by going over the work with a 
brush which has been shaken out so that it contains little stain. 
Allow to dry eight hours or over night. 

Then fill over all with brown filler; allow filler to show dry on 
top, then pack into the pores thoroughly by rubbing with rag or 
waste, crosswise of grain. Allow the filler to dry forty-eight hours. 


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Page Forty-one 
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Of course it is understood that in packing filler the rubbing crosswise 
cleans it off. 

Now apply a coat of pure white shellac. Allow to dry over 
night, then sand lightly. Follow with two or three coats of var- 
nish, allowing plenty of time between coats, usually three days. 

Sand each coat lightly with fine paper and dust thoroughly. The 
final rubbing coat should stand three or four days before rubbing. 
For rubbing use 3-F pumice stone and light rubbing oil (paraffin 
oil). Use a medium hard felt and be sure to rub with the grain, 
easing up pressure on end of stroke, so as not to cut through edges. 

Clean off excess oil with clean waste or very soft rags. 

‘The use of lacquer finishes is rapidly increasing and these finishes 
have much to recommend them. Specific instructions for their use 
should be obtained from the maker of the finish. 


HOW LO, REEPSEURNIPURES ANE Wie 


Varnish finishes should never be dusted with pressure. We can as- 
sume that ninety per cent of present day pieces are flat or ‘dull rub” 
finishes. If using so-called dustless duster, always wipe off with the 
grain of the wood. If dusted with a down duster, do the same. Re- 
move finger marks with moist cheese cloth rag on which a few drops 
of some good furniture cleaner have been applied. 

Stroke or wipe with the grain and the surface will appear smoky 
from the moisture. Then clean off with a new, soft, but absolutely 
clean rag. Remember that too much friction brings back the polish, 
and in a few years time, if too stringent applications of the cleaner 
is employed, the furniture will almost be a high polished surface in- 
stead of a mat surface. 

Open-pore finishes, as a rule, are shellac and wax or wood lacquer 
and wax. Clean these by putting a bit of wax on a turpentine cloth 
and wiping the same way and then rub briskly back to a polish. 

There are in existence many old pieces that might be called an- 
tiques built of walnut in which some of the construction is repre- 
sented in beautiful pieces of burl, crotch or stump wood, that per- 
haps would look much better if they were finished in a French 
polish. There is nothing that will bring out the beautiful figures 
like an elegant French polish applied by an expert at this work. 

A good job of waxing can be kept in good condition by clean- 
ing the piece with a soft cloth on which there is a bit of wax. 


Page Forty-two 
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eg A walnut grove of the future 4 
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| | PIVAING Racy bile G} 
ie] One of the many national problems that confronts us today is re- 5 
=) forestation. What are we going to do when the magnificent for- a 
| 1S ests, now rapidly dwindling away under the lumberman’s ax, are A 
| ig exhausted? o} 
ty Where will the people of 2025 get their wood? No one wants iC} 
| 3) to live in a civilization of cold stone and steel. ( nl 
iv! We must plant more trees. i 
8 e Anyone who plants a tree, no matter where, is a public benefactor. ) 
| © Perhaps you have no place where you could plant a tree. But you 
| can, at least, give the ‘““Plant a Tree’’ movement your appreciation 
| | Gee | 8 af Ppp 
if ©) | ~ and moral support. 
@) | And, when planting a tree, what tree could be more suitable than 
~  asplendid American Walnut, with its beauty and its value? What 
2) tree could mean more to future generations? 
| g 
| e} “Plant a tree’’—a walnut tree. 
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WHY THIS BOOK | 


We value this opportunity, which your interest in walnut has cre- 
ated, to place before you in some detail the wonderful history of 
walnut. You can forgive our pride in being the manufacturers of 
walnut into the forms and sizes which are the basis for the work of 
the designers and builders of furniture, of important buildings and 
of fine homes today. 


The American Walnut Manufacturers’ Association is a group of 
manufacturers of walnut lumber, and veneer, first organized in 
1912. Its aim is to standardize and continually improve the con- 
ditions under which American Walnut is grown, felled, milled, 
manufactured and distributed, to keep up the supply, and to foster 
the ideal of better furniture and better homes. 


Walnut, to us, is not just ““wood’’. Its inherent fineness gives 
to its manufacturers something of the same pride of production that 
belongs to workers in precious metals. 


Believing in it as we do, we are naturally eager to share our 
knowledge of it with people of discriminating taste and appre- 
ciation. 


We say this as a preface to another thought which reflection will 
show you is well founded. 


At no period of our history has there been greater need than now 
for influence to be exerted on behalf of all things true, good and 
genuine. Each of our friends to whom we send this book is a cen- 
ter of influence to that very end. 


The importance of what might be termed active appreciation will 
lead you, when you buy furniture or interior woodwork, to insist 
upon getting real American Walnut. 


Any reputable furniture dealer will, of course, be glad to give you 
any further information you may desire, but we extend to you a cor- 
dial invitation to inquire further from us, at any time, on any point 
that can contribute to your knowledge or satisfaction. 


A AT I I EI ANE A GST CE LE ER — rt or 


AMERICAN WALNUT MANUFACTURERS’ ASSOCIATION 
GEO. N. LAMB, Secretary 


616 South Michigan Avenue, Chicago, IIl. 


| 
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Page Forty-four 


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INDEX 


Trees (A poem, by Joyce Kilmer ) 

‘Down the Centuries with Master Woodworkers 
The Italian Renaissance 

Walnut in England . 

The Famous English Designers . 

Chippendale . 

Heppelwhite . 

Brothers Adam . 


Sheraton . 


Walnut in Colonial eae 
American Walnut in the Great War 
Chronological Table 
The Advantages of Walnut Today 
The Wood Itself 

American (Black) Walnut 


Figures in Walnut 


Striped Figure 
Rotary Figure 
Stump Figure 
Burl Figure 
Cross Figure 
Matched Figure 


How to Identify Genuine Walnut and Avoid the Substitute 
How to Know Real American Walnut 


How to Judge an Individual Piece of Furniture 
Walnut Plywood Panels 

Proper Classification of Walnut Furniture . 
Walnut Interior Woodwork 7 


The Care arid Finishing of American wetit 


Why Walnut Is Finished 

How to Select a Walnut Finish 
Modern Finishes 

How to Finish Walnut—Directions 
How to Keep Furniture ‘‘New”’ 


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